The Sound of the Future: MAC’s New Landmark Will Be Heard, Not Just Seen

MONTREAL, QC – July 09, 2026 – As the Musée d'art contemporain de Montréal (MAC) undergoes a transformative renovation, the institution is making a profound statement about its future identity not with marble or bronze, but with sound. The museum announced today the four finalists for a competition to create a permanent digital art installation, with a specific focus on sound, that will become an integral part of its redesigned public space upon reopening in 2028. This decision signals a deliberate pivot from traditional monumental art, embracing an ephemeral, technology-driven medium to define its next chapter.

From a pool of over 30 eligible applicants, the selection committee has shortlisted a diverse and highly innovative group: Indigenous artist Ludovic Boney; internationally acclaimed interactive artist Rafael Lozano-Hemmer; sensory researcher and artist Sandra Volny; and a collective comprising Steve Bates, Alexandre Burton, and Marc-Alexandre Reinhardt. The choice to commission a work of sound art—with or without a visual component—is a bold investment in the intangible, challenging how we perceive and interact with public art in an institutional setting.

A New Sonic Landmark for a Renewed Museum

The commission is a cornerstone of the MAC’s ambitious architectural overhaul in the heart of the Quartier des spectacles. While the physical structure is being reimagined by Saucier+Perrotte and GLCRM Architectes, this artistic competition ensures that the museum's soul is being redesigned in parallel. The future artwork, with a total budget of $359,540 for its creation and installation, is intended to be more than mere decoration; it aims to become a defining feature of the visitor experience.

“The MAC has always been a place that encourages boldness,” said Stéphan La Roche, the museum's director, in a statement. “These finalists demonstrate the vitality and originality of digital art creation in Quebec. We look forward to discovering a unique and enduring voice that will enrich our new Museum this fall.”

The finalists will each receive $12,000 to develop their concepts, which will be presented to the selection committee in October. The winning proposal will be announced later this fall, giving the chosen artist or collective ample time to produce and integrate their work ahead of the grand reopening. The substantial financial commitment underscores the project's significance, positioning the artwork as a permanent cultural asset rather than a temporary exhibition.

Beyond the Pedestal: Embracing Immaterial Art

By prioritizing sound, the MAC is consciously moving beyond the static nature of traditional public sculpture. The finalists represent the vanguard of this shift, each exploring the intersection of technology, space, and human perception in unique ways. Their work promises an experience that is immersive, participatory, and deeply integrated with the surrounding architecture.

Ludovic Boney, an artist from the Wendake Huron-Wendat Nation, brings a practice rooted in Indigenous culture, recently focusing on immersive sound sculptures that make the spectator an integral part of the piece. His work often bridges cultural traditions with contemporary aesthetics, promising a piece that is both formally rigorous and culturally resonant.

Rafael Lozano-Hemmer, a Mexican-Canadian artist renowned for his large-scale interactive installations, uses technology like robotic lights, computerized surveillance, and telematic networks to create what he calls “anti-monuments.” His platforms for public participation empower visitors to become co-creators, subverting the passive viewing experience typical of traditional art.

Sandra Volny’s practice delves into the sensory dimensions of listening, exploring imperceptible vibrations and the memory held within matter and environments. Her research-based approach, which sits at the intersection of art and science, could yield a work that attunes visitors to the subtle sonic ecologies of the museum itself.

The collective of Steve Bates, Alexandre Burton, and Marc-Alexandre Reinhardt combines three distinct but complementary practices. Bates’s work spans sound art, music, and transmission; Burton, a “digital luthier,” merges machine and sensory experience; and Reinhardt uses sound as a poetic and speculative medium. Together, they represent a powerful fusion of technical mastery and conceptual depth.

This focus on digital and sound art reflects a broader trend in the contemporary art world, but its adoption for a permanent commission of this scale is a significant institutional endorsement. It suggests a future where a museum’s identity is shaped not only by the objects it contains but by the sensory environments it creates.

The Engine of Culture: Quebec's Visionary Public Art Policy

Such an artistically and financially ambitious project is not an isolated event but the direct result of a foundational piece of Quebec law: the “Politique d'intégration des arts à l'architecture et à l'environnement.” Established in 1961 and colloquially known as the “1% Program,” this policy mandates that approximately 1% of the budget for any new or significantly renovated public building be dedicated to commissioning a work of art.

For over six decades, this policy has been the primary engine of public art creation across the province, resulting in nearly 4,500 works integrated into schools, libraries, hospitals, and cultural institutions. It is a powerful mechanism for democratizing art, embedding it into the daily lives of citizens while providing sustained, systemic support for Quebec artists. The MAC’s competition is a textbook example of the policy in action, leveraging the capital investment in its architectural transformation to fund a significant, forward-looking piece of contemporary art.

This framework does more than just allocate funds; it establishes a rigorous, professional process. A selection committee composed of art specialists, architects, and institutional representatives is formed for each project, ensuring that the final work is not only of high artistic merit but also thoughtfully integrated into its specific context. This long-standing commitment to public art has cultivated a rich ecosystem where artists are encouraged to experiment and institutions are empowered to take risks, positioning Quebec as a leader in cultural policy and public art innovation.

The Future Resonates: What's Next for the MAC and Montreal

As the four finalists retreat to develop their proposals, the Montreal art community watches with anticipation. The final choice, to be revealed this fall, will set the tone for the new MAC and offer a glimpse into the future of institutional art commissions. The work will not be an outdoor monument but an indoor installation, woven into the fabric of the museum's public circulatory spaces, destined to shape the first impressions and lasting memories of millions of visitors.

When the new Musée d'art contemporain de Montréal opens its doors in 2028, its inaugural statement will not be a silent one. Instead, it will resonate with a voice chosen to represent the cutting edge of Quebec's artistic talent. Whether it’s a participatory digital symphony, an immersive sonic sculpture, or a subtle environmental vibration, the work will become a permanent part of the city's cultural soundscape, proving that the most powerful landmarks are not always the ones we see, but the ones we feel and hear.